October 2, 1941: Another day of filming the extensive “Finale” sequence for Babes on Broadway. Time called: 10 a.m.; lunch: 12:05-1:05 p.m.; dismissed: 6:00 p.m.

October 2, 1941: Judy, a three-foot-high doll made in her likeness (allegedly), and the ambassador of Chile!

October 2, 1944: Filming on The Clock continued with new director Vincente Minnelli. Scenes were shot on the “Interior Small REstaurant” set. Time called: 10 a.m.; Judy arrived at 10:16 a.m.; dismissed: 4 p.m.

October 2, 1947: Another day of early rehearsals for Easter Parade. At this point, Gene Kelly was still Judy’s co-star and the duo was rehearsing “A Couple of Swells.” They would continue rehearsals of “Swells” as well as Judy rehearsing “Mr. Monotony” until October 13 when Kelly broke his ankle. Unfortunately, none of these rehearsals were recorded so we have no idea how the duet sounded with Kelly instead of Fred Astaire.

First Photo: Scan of a newspaper clipping from August 1947 noting that Easter Parade would star Judy with Frank Sinatra, Gene Kelly, Red Skelton, and Kathryn Grayson! Maybe Judy and Kathryn could have resurrected the “Opera vs. Jazz” routines Judy performed in the 30s.

October 2, 1952: This photo was taken of Judy at Ciro’s. She was there for Johnny Ray’s opening.

It’s a bit of an oddity as it wasn’t published until January 1953, at which point it notes that Judy was going to go “into ‘A Star Is Born’ after baby’s born,” referencing her pregnancy. However, Lorna was born in November 1952. The January publication of the photo was two months after the fact.

October 2, 1955: Judy made the cover of Boston’s “TV Eye.”

October 2, 1955: This article about Van Johnson relays the story about how Judy “discovered” both Van and Gene Kelly. When Judy was in New York she saw “Pal Joey” and liked both Gene Kelly and Van Johnson so she sent a postcard to the head of MGM, Louis B. Mayer, suggesting he sign the two. The article claims Judy was 16 when these events allegedly happened but actually she was already 18 years old when the show opened on Broadway in late December 1940. Judy had in fact seen “Pal Joey” while on a short trip to New York and, according to Gerold Frank in his biography of Judy, titled “Judy” (published in 1975), she and Gene went to dinner with her mother and others in her entourage. The two stars managed to ditch Judy’s mom and the entourage and go out on their own, creating a lifelong friendship.

October 2, 1963: A recording session is listed as being held at Capitol Records in Hollywood to attempt to get completed takes for Judy’s in limbo “Judy Takes Broadway” project.

The single reel of tape only contains orchestra tracks of “Do What You Do,” “76 Trombones,” and “Why Can’t I?” with no vocal track. Judy’s voice can be heard faintly in the background, which indicates that she decided not to record that day but nonetheless rehearsed. The tape is noted as being a “dub (original in England)” meaning that most likely it was derived from a session in England or possibly other takes from April 1962. The master numbers are the same for the three songs from this session as they are from the original April 1962 sessions.

Whatever the case, the entire “Judy Takes Broadway” project was abandoned and not officially released until the 1988 CD “Judy Garland – Live!”

This project is not to be confused with the CD released by the Savoy Jazz label in 2008, also titled “Judy Takes Broadway” which is, at a scant 44:13 minutes short, a compilation of Broadway tunes as sung by Judy on her 1964/1962 TV series.

October 2, 1965: During the day Judy had a dress rehearsal at CBS Television City in Hollywood, California. The rehearsal was for her appearance on “The Ed Sullivan Show” live the following evening. Later on this evening she and Mark Herran attended the Thalian’s “Cloak and Dagger” show.

October 2, 1967: Part One of a four-part reprint of the recent “Ladies Home Journal” article “The Plot Against Judy Garland” appeared in papers around the country.

October 2, 1967: Judy’s second night of her two-night engagement at the Clowes Hall in Indianapolis, Indiana.

“Variety” reported that Judy grossed $33,940 against a possible $36,000, with attendance at a total of 4,050, out of potential 4,400. Ticket prices were at a $10 top, which was Judy’s standard top ticket price, a high price for the era. By early 1968 that top price would sometimes hit $15.

The concert was a success, with the “Star” noting: “Now she has new depth of feeling and variety of tone color that give her a more dramatic quality to supplement her wonderful exuberance. She has a voice like an organ . . . When she cuts loose with a crescendo, it makes people want to stand up and cheer.”

On Sunday, September 3, 2000, the following article appeared in the Lifestyles Section under the general reader-submitted feature “My Life.”